What Is Catch Me If You Can Film Techniques

A variety of camera techniques are used throughout the beginning sequence to enhance the mood and involve the audience. Camera techniques are harmonized with lighting effects to culminate this dramatic scene. I will begin by discussing examples of this. In the village, many close-ups and long shots are used to enhance facial expression and to set the sombre mood.

During the film Steve Spielberg uses music, a mysterious shark and camera techniques such as simultaneous track and zoom, long shot, close up shots and medium shots to build suspense, tension and scare the audience.

Frank’s need for stimulation could clearly be seen as an adolescent when he, after running away and surviving on cashing fraudulent checks, desired to partake in even more daring crimes as a result of the mere exposure effect in which the thrill of committing these crimes without any repercussion led to his increasing preference for them. In a way, the deceptive fraudulent checks that Frank created were directly representative of his deceptive nature since they could not easily be validated and had to travel weeks across the country. Frank’s desire to partake in increasing risky crimes during his merge led to the furthering development of his antisocial personality disorder as he took on greater impulsive acts of social deviance such as impersonating a Pan Am pilot and forging Pan Am payroll checks for over two million dollars. Utilizing his superficial charm, pathological lying, and lack of empathy Frank impressed and exploited people to feed his id-driven desire to commit more impulsive, daring crimes. The thrill of living on the edge of getting caught by the FBI, reached a turning point when Frank confidently impersonated the alias of a secret service agent and lied to avoid getting caught by Carl Hanratty, the lead investigator for his case. Realizing, he had just walked past the chief FBI

Citizen Kane uses mise-en-scene is multiple scenes to help tell the narrative. A perfect example is when the parents

The other camera movement that I want to talk about is the shot which shows the frame within the frame. At the scene when Gustave tries to escape from the prison with his prison mates, they slide down through the steam vent and open the wood-paneled door on the ground. At this moment, the camera shows them who are staring down a hole in the wood frame and shows the guards who are playing the card game in the wood frame. Through using this shot, this film allows audiences to feel that they are looking at the painting just like seeing one page of a fairy-tale book. On the one hand, Wes Anderson’s frame within a frame shows the internal psychology and memory of the characters in the film (MCCAUSLAND). The last camera movement that I figure out is employing a symmetrical shot which is perfectly balanced in the left, right, upper, and lower side. This symmetry makes audiences recognize psychologically that they are watching fictional dreamlike world. Because of this balance, on the one hand, audiences can easily understand what they are seeing in each scene, and the symmetry aesthetically amuses people’s

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

Tom Hanks who is the main character couldn’t believe his eyes. He was shocked that those cruel scenes were happening right in front of his face. Spielberg also stops the music and makes the screen kind of blurry to instill a sense of reality to the atmosphere. This definitely added more reality to the movie. Tim O’Brien said credibility might be threatened by telling an unbelievable story but this unbelievable aspect of the movie adds more credibility. The way he shot the film almost gives us a feeling that we were watching a documentary about war. These are the aspects Tim O’Brien exactly talks about in his text. Spielberg includes unbelievable aspect to his movie but he does not lose the credibility as Tim O’Brien states on his text.

Based on the true story of Frank Abagnale Jr, “Catch Me If You Can” tells of a successful con artist who managed to pass himself off as several identities for personal gain.

In addition to camera movements, he uses camera distances and framing to create images that make the audience feel cheerful. When he frames a shot, if it takes place outside, there is ample amount of bountiful nature within the frame. The most prominent example of this is toward the end of the film when the narrator is describing the after effects of the massive storm. It is a medium close up but the narrator is only in a small portion of the frame, the rest if a

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

One cinematic technique that Wells used was the Montage, the cinematic technique used to provide a lot of information in a very short amount of time or to show the passing of time. There are many of these used throughout the film which include the use of newspaper reels, opera shows, and my

During the protest scene of the citizens trying to break into the United States Embassy had intercuts of a perspective of an individual in the mob. This gives a sense of authenticity because the quality of the recording is similar to a hand-held camera that stands out from the rest of the film sequence. Within the film sequence the film viewer can see how Affleck approach the topic with intercuts as the tension builds in Tehran and back in the U.S. trying to successful pull off an operation in the government.

Frank is openly discussing the importance of honesty, integrity and family in business before suddenly changes his demour when catching sight of someone in debt to him, Director Ridley uses as eye-level mid-shot to display the shocked expressions of Frank's Brothers as they watch him shoot someone point blank in the head amongst the public in plain daylight which disturbingly captures Frank's ruthlessness by causing viewers to feel unsettle by Frank's sudden change in behaviour, this shows how Ridley can use Frank’s Identity to Confuses the audience, making us feel concern towards his brothers watching him as they seem more innocent and honest when compared to their older brother who they look up to for guidance. Which relates to the problem

The film that made an impression on me because of its techniques was The Great Gatsby. The director, Baz Luhrmann presents certain themes and ideas for the viewers. To do this, Baz Luhrmann proficiently uses a range of techniques to demonstrate these ideas. The Great Gatsby is about a man who orders his life around one desire: to be reunited with Daisy, the love he lost five years earlier. Gatsby's quest leads him from poverty to wealth, into the arms of his beloved, and eventually to death. The techniques I write about that illustrate the themes of the film are; camera shots, setting, lighting and symbolism. The scenes I will be concentrating on are the final scenes which feature the Great Gatsby.